Ain't no whoopin' an' a hollerin' in Jo Sutherland's review of a technically impressive but emotionally lacking production of Kiss Me Kate at The Old Vic
Kiss Me, Kate is a play-within-a play (or a musical-within-a musical); the narrative of which meanders on and off stage, blurring the lines between reality and fantasy. An ensemble of actors are preparing for ‘Another Op'nin', Another Show’. Cue opening number. Whilst battling their own personal demons in the wings, the cast also strive to maintain their characters for the opening night of Shakespeare’s Taming of the Shrew. A musical version with a 1940s twist.
As one might expect, this Chichester Festival transfer onto the Old Vic’s boards is pretty darn hot. The production is a testament – one of many – to Trevor Nunn’s extensive directing career. The production values are strong and scene transitions are slick and fast paced. Generally speaking, the piece is polished several shades of super shiny. And there are a few dazzling smiles to match the overall glow of the show. It's no surprise that Nunn has directed thirty Shakespeare plays and twenty musicals – both genres entwine surprisingly naturally in his production of Kiss Me, Kate.
The cast are fabulous; each member has an extensive list of credits under their name which is not at all shocking when you see them in action. Hannah Waddingham is a fine Lille Vanessi – and she also makes a great Shrew (no offence intended). Waddingham practically bursts with charisma and her energy is infectious. Lois Lane is played exquisitely by Holly Dale Spencer, although the same can’t be said for her performance of Bianca in The Shrew, which is frankly abysmal. But then that’s the point, so a job well done!
The protagonists are supported by a strong ensemble – in particular Wendy Mae Brown as Hattie / Lilli Vanessi’s dresser and Jason Pennycooke as Paul / Fred Graham’s dresser. Brown has a beautiful belter of a voice and opens the show with a bang. Pennycooke’s flamboyancy and buoyancy on stage demands attention and as leading man in ‘Too Darn Hot’, he’s sizzling!
Cole Porter’s musical score is adorably... well... classic. Without even realising, I knew most of the numbers but can’t for the life of me work out how. Full credit to the orchestra; the music sent shivers down my spine. I stayed in my seat until the last note wafted through the aisles. Beautiful. Stephen Mear’s choreography ranges from sensual and saucy to fun and quirky. There’s a bit of tap, a lot of jazz and even a sprinkling of Bob Fosse.
However, where the show excels in technique and dramatic flair, it doesn’t quite hit the spot. The relationship dynamics aren’t convincing. There’s minimal spark and the chemistry between the various lovers is a bit – meh. The musical numbers are too long, perhaps because the choreography doesn’t play around as much as it could. For those fond of the 21st century musical, you may not be able to deal with the excessive jazz hands and blinding gnashers of this old classic.
All in all; it’s a jolly good romp! You’ll laugh politely, perhaps nod your head in appreciation and you’ll join in with an elegant applause – but you won’t let out a roar of a laugh and you won’t feel the need to get on your feet, punch the air and “whoop whoop”. That’s not to say one does such things in a theatre, but I personally believe you should feel the inclination to do so when something really clicks and you’re sitting there thinking “I LOVE this!!” But nope, not this time. Perhaps I’m being too pernickety in my criticism but musicals have a way of releasing one’s inner drama queen. For the most part, I enjoyed it for what it is, technically very impressive, but it’s a little too far-fetched for my taste.
Kiss Me Kate runs at The Old Vic until 2nd March 2013
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